29 Sep 2006
La traviata, Coliseum, London
http://www.ft.com/cms/s/dd83f3b0-4f0f-11db-b600-0000779e2340.html
https://boydellandbrewer.com/bizet-s-i-carmen-i-uncovered.html
https://boydellandbrewer.com/the-operas-of-sergei-prokofiev.html
https://www.wexfordopera.com/media/news/incoming-artistic-director-rosetta-cucchi-announces-her-2020-programme
https://press.uchicago.edu/ucp/books/book/chicago/M/bo43988096.html
http://www.iupress.indiana.edu/product_info.php?products_id=809636
https://www.cambridge.org/us/academic/subjects/music/twentieth-century-and-contemporary-music/prokofievs-soviet-operas?format=HB
https://boydellandbrewer.com/the-operas-of-benjamin-britten.html
https://www.bloomsbury.com/us/the-opera-singers-acting-toolkit-9781350006454/
https://h-france.net/vol18reviews/vol18no52palidda.pdf
http://www.operatoday.com/content/2018/08/glyndebourne_an.php
A musical challenge to our view of the past
https://vimeo.com/operarara/how-to-rescue-an-opera
http://www.ft.com/cms/s/dd83f3b0-4f0f-11db-b600-0000779e2340.html
By Andrew Clark [Financial Times, 28 September 2006]
It doesn’t matter where or when you set La traviata. What counts is that Violetta should bear the hallmark of the “working girl”, albeit witty and beautiful, and the characterisation of the principals is emotionally truthful. Then the prima donna must walk Verdi’s tightrope – different voice and persona for each act – and move us.